The Canterbury Society of Arts Exhibition.

New Zealand Illustrated Magazine, Volume 1, Issue 10, 1 July 1900, Page 67

The Canterbury Society of Arts Exhibition.

By Leaflet,

|||||OVERS of art, living in New f)l@i Zealand, have more than one cause 6^^ for regret, when considering the m|]* improvement, or the reverse, to be Wf noticed in our Annual Art Exhibi- ® tions ; not the least of which is the fact that distance separates the chief centres so widely, and breaks up what should be one good exhibition into numerous secondary shows. Another cause for regret is, that so soon as our promising young art students arrive at a period when their productions can not only please us, but make us proud of their proficiency, they leave our shores to seek a wider scope for their budding ambitions, and a more competent school than we can possibly offer ; and so it is that, year after year, we are pleased and yet disappointed at the result of our year's work amongst the artists. We never seem to get any further advanced, for after all is said, our exhibition is little more than an exhibition of students' work. As such we are proud of it, but as an art exhibition the result is very disappointing. I have not had the privilege and opportunity of comparing our Christchurch exhibitions with those in other centres, but I presume they are all very similar, and have the same merits and demerits in common. I hope to be able in a short space to give a slight notice of some of the best pictures hung in our gallery for exhibition this year. The Art Gallery is situated in one of the prettiest parts of Ohristchurch, opposite those charmingly interesting buildings, the old Council Chambers, better known as the Government Buildings, which I love to think of as still peopled by the early law-makers

of Canterbury, tho little band now growing so thin. The gallery, which ia built of brick, is very largely due to the ontorpriso and energy of the lato secretary, Captain Garcia, who gave his extensive art knowledge so courteously aud so freely to tho furtherance of art in our city. It is not vory decorative from an outside point of view, but i hope that I may live to see, hanging on the walls of the permanent gallery, many examples of the best of modern art. I have often wished that some arrangements could bo made for tho temporary exchange of pictures with Dunedin, Auckland and Wellington, to enable students to profit by seeing tho best examples possessed by tho various societies, to say nothing of the exim pleasure which might bo thus given to the art-loving public. We want to see more work by English and Continental artists, and if tho societies of New Zealand would join forces in this respect, much lasting good would bo done. Good work not only servos as a guide to those who are floundering in a hopeless whirlpool of ignorance and incompetence, but it educates the public taste to appreciate and love what is good and true in art. it is always sad to me to notico the class of pictures which almost invariably soil during these exhibitions. It is not the boat, but the pictures which are painted with a view to catch the eyo. Of courso this is not always the case, but in tho majority of instances it most certainly is.

Perhaps few of the paintings in the gallery this year created more interest than those sent by Miss Stoddart. It is interesting to note the effect study in England has had upon her work. Of tho eight which she exhibited seven sold, which speaks for itself

as to their popularity. All were greatly admired. Her work is always delicate and l'efined, and eminently truthful and full of tender feeling for the subject treated. She paints stronger and more forcibly than before she went away, and is evidently greatly impressed by the beauty of English scenery. One of her paintings which drew forth many exclamations of pleasure was entitled " A.n English Wood " — very simple in subject, but so delicate in design — a silver

Mr. J. F. Scott, a new exhibitor in Christchurch, sent several charming little bits of English and French scenery - such lovely colouring and atmosphere — impossible to describe, bat very desirable to possess.

The Sydney artist, Mr. A J. Hanson, who exhibited last year for the first time in Christchurch, had this year one large oil and three water colours. His work is that of a master hand, and shews up strongly as such when exhibited in a gallery where

birch tree in the distance, and all the foreground blue with wild flowers. Her best picture was a group of violets and primroses, perhaps the most desirable picture in the room, beautifully painted in every respect, and certainly an improvement upon her flower painting before she went Home. Another of her paintings which found many admirers and would-be owners was a " Yorkshire Village," a quaint old-world scene, with white cottages and delightful red roofs.

students' work is so conspicuous. The oil painting, " An Australian Station Smithy," cannot be too highly praised. A dark interior, showing a well-managed sunlight effect coming through the open doorway, and in the distance the bright firelight throwing a warm glow upon two brawny men who are hammering into shape a redhot horseshoe. Mr. Hanson's largest watercolour, " Changing Paddocks," required to be seen two or three times before it dawned upon you that you were looking at an

July, 1900]

extremely clever and beautiful picture. When I had once realised this fact the picture positively fascinated me. I seemed to feel the whole scene ; it was so simple and natural. A largo stringy bark gum tree stands out in all its untidiness against a clear afternoon sky. A shepherd is dreamily moving a flock of sheep — the atmosphere and harmony of it all is wonderful. The same mellow harmony characterises Mr. Hanson's two paintings of West Coast scenery. Mr. Worsley's work is now becoming well-known and appreciated all over New Zealand. He is always interesting, and has always something fresh and crisp to tell us. This year he sent us three small oils— two of which were Spanish and one in the Isle of Majorca — scenes of gay colouring and bright sunlight. His water-colours were in no degree less interesting. . Mr. Menzies Gibb is somewhat disappointing. He paints very pretty little atmospheric effects, which command a ready sale, but he seems to aim too much at prettiness. Mr. John Gibb always excites my admiration in that he is so hardworking and persevering. He stands well to the front of our marine painters, and I trust he may long enjoy his proud position. Of the younger artists three stand out

conspicuously as having worked hard and essayed to paint difficult subjects. Of these, Mr. Sydney Thompson's ambition is ovidently to be a portrait painter, but it is a life-long study, and needs especial talent and a perfect insight into character. True portrait painting achieves a something which photography cannot grasp, but it is given to few artists to excel in this particular branch. The portrait paintor also needs to study the best examplos of the greatest masters before ho can hope to oarn distinction and bo regarded as a success. However, I heartily wish Mr. Thompson the success he merits, for he has plenty of perseverance, and that is an indispensable aid to ambition. Two paintings by this artist excited considerable interest. One, tho portrait of an old Scotchman, the other a cardtable scene. Two rough country men aro contesting a game of euchre. The expressions were capitally coucoived and cxocutod.

Mr. Proctor deals in landscape, and shows great patience and hard working capabilities. He will undoubtedly be an excellent landscapist if he goes on working ho conscientiously. The same may also be said of Mr. Bickerton, who also displays a very large share of that artistic quality — a poetic imagination — which, if he had nothing else, would scarcely fail to make his pictures interesting.

ILLUSTRATED MAGAZINE